On 04/02/2012 06:33 PM, Ronald C.F. Antony wrote:
On 2 Apr 2012, at 17:57, Eero Aro<eero....@dlc.fi> wrote:
Because Nimbus Records devoted themselves strictly to one point
miking, they didn't record any operas, as the singers, choir and the
orchestra are scattered in a large area and you cannot get a good
balance with one point miking.
Sorry, that's bogus. When I go to the Opera, I sit at ONE SPOT.
IF there's anything as a good seat in the opera house in question, where people
in the audience can listen to a well balanced live performance, then that means
there is a spot for single-point recording.
<snip>
If that's not possible, there's something wrong with the microphone, recording
methodology, or both.
a) putting a microphone into the audience is pretty much impossible for
live situations, unless you are more interested in the respiratory
functions of your seat neighbors than in the music. flying a soundfield
high above makes for a nice horizontal blend of the music, but gives
irritating height information.
b) the listening room acoustics need to be factored into the equation.
which is why the usual approach is to get the microphones way high, and
to record in really large rooms - you are shifting the early reflections
into a range where they are not perceived as coloration, but as echoes.
a "best seat in the audience" kind of recording has its own set of
coloring early reflections already, and it is very sensitive to
listening room influence. (i guess the reason is our brain can sort out
one set of ERs as "natural" and work around the coloration, but not two
sets.)
--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487
Meister für Veranstaltungstechnik (Bühne/Studio)
Tonmeister VDT
http://stackingdwarves.net
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